Module 8. Production: How to Edit Your YouTube Videos Simply and Effectively

Emma opened a video editor and closed it again ten minutes later. In this lesson we'll go all the way through: pick an editor, cut out what doesn't belong, and get to a finished file.

1. Why this lesson exists

Emma published three videos and uploaded all three exactly as they came off the phone: one long take, trimmed at the beginning in the camera app, then uploaded. By the fourth she'd had enough. She watched her own videos back-to-back and saw what a viewer sees: a long run-up, dead air, a full minute of her hunting for a spatula. Nobody else in her niche looks like that. Their videos are tight.

So she downloaded an editor, opened it, and closed it again ten minutes later. Fifty buttons on screen, four panels, some stripes along the bottom. Where do you put the video? No idea. What's a track? No idea. Where's the button that cuts a piece out? No clue.

One lesson won't make you an editor, and your first edit will take longer than you'd like. The goal here is smaller: pick a program, get your footage into it, throw out everything that doesn't belong, and save a finished file. Once, all the way through, with your own hands. We'll cover audio levels and close-ups too, but I won't ask you to nail them on video one.

2. The one idea

3. Words you'll need

Everything else I'll explain where it first comes up.

4. Which program to edit YouTube videos in

Start with whatever you already have and whatever is free. If you've never edited anything, you want a simple video editor: with no experience, you can get comfortable with CapCut or Clipchamp in an evening, and not with Premiere. You can always move later, because the operations are the same everywhere and only the button names change.

Editing YouTube videos on your phone, free

On a phone, start with CapCut: it cuts, stacks a few tracks, handles volume, speed, and cropping. Before you export, check that you haven't used a paid template, effect, or sticker — CapCut's own help page says a normal free export carries no watermark, and the watermark only shows up when a Pro asset is in the project. Swap that asset for a free one and the watermark goes away. Pricing tiers move around, so look at your own export screen before you commit to anything.

YouTube's own editor. If you're in one of the countries where it's available — the US, UK, Canada, Australia, India, Germany, France, Spain, Ireland, the Netherlands, Finland, Brazil, Argentina, Turkey, Singapore, Indonesia, Thailand, Hong Kong, Taiwan, South Korea, or New Zealand — there's YouTube Create, a free app from YouTube itself with no ads. It runs on Android and on iPhone XR or newer with iOS 17. It'll cut and arrange your clips, and it adds captions at the tap of a button. I'd still treat it as one option among several rather than the obvious default: YouTube doesn't publish its export limits, so check what resolution and frame rate your own copy actually produces before you build a workflow on it.

On a computer, free

On Windows 11 you usually already have Clipchamp, and if you don't, it installs from the Microsoft Store. Microsoft is unusually clear about the two things beginners care about: free accounts export up to 1080p, and the editor never adds a watermark of any kind. Two limits to know. Exports are locked to 30 frames per second on every plan, so if you shot 60 and want to keep it, use CapCut instead: it is free and watermark-free, while Filmora only exports clean on a paid plan. And 1080p is the ceiling on the free plan — 4K needs a subscription, so a 4K shooter is better off elsewhere.

What I edit in

Wondershare Filmora is easier to learn than the professional tools, so I use it for ordinary jobs. It wants 8 GB of RAM minimum and 16 GB for comfortable HD and 4K work. Check yours by right-clicking Start → System and reading the "Installed RAM" line; under eight and Filmora will fight you, so use Clipchamp or your phone. The free version does watermark your exports, and license terms move, so read the official Filmora page before you pay.

Adobe Premiere Pro makes sense once editing is a regular part of the work and you need the harder tools. It's a subscription; check the current price for your country.

Every editor has AI buttons now. Turn them on once you can check their work by hand: undo a bad cut, fix a mangled caption, compare processed audio against the original. We'll go through those tools properly in module thirteen.

Where to learn more

The free editors have real documentation, and it beats a random tutorial: the CapCut help center and Microsoft's Clipchamp help.

If your iPhone footage gives the editor trouble

Clipchamp takes iPhone files fine most of the time. If the import crawls or you get sound with no picture, update the editor first. If that doesn't help, switch the phone to Settings → Camera → Formats → Most Compatible, as module five suggested, and reshoot the piece that broke: those recordings take more space but open in anything.

Getting footage off your phone and onto the computer

A cable is simplest: plug the phone in, allow file access on the phone itself, and copy the videos from the camera folder into your project folder. Without a cable, any cloud drive works, or Phone Link on Windows. Move the files before you start editing, straight into the folder you won't touch again — the next section explains why that matters.

5. The editor window: what sits where

Now for the thing Emma tripped over. The window looks like a cockpit for one reason: these programs were built for film and advertising, where an editor has hundreds of jobs. You need six of them. Four areas and two tools.

Here's almost the whole window. Look at it for a minute without reading the buttons, and remember where the areas sit. Three of the four are labelled, plus the tools: the settings panel isn't marked, because it only appears once a clip is selected.

The editor's first question will be about creating a project. That's the working file that holds your assembly. Give it a name you'll recognize and don't delete it until the video is published.

Area 1. Where your files live. A list of everything you've brought into the project. Look left, top, or bottom — programs differ, so go by the panel's name. Premiere calls it the Project panel, Filmora calls it Project Media, CapCut drops your files into the media area above the timeline, Clipchamp keeps them in the media panel on the left. Files get there through an import button or by dragging them from a folder. Most editors only store a link to the original, so don't move your footage until the edit is done, or the project loses track of it.

Area 2. The preview. Usually top right. It shows whatever is happening at the point where the playhead sits.

Area 3. The timeline and its tracks. The whole bottom half of the window: your video, laid out in time. This is also where you can see the single most useful fact about video — the file you shot only looks like one piece. Inside it, picture and sound run separately, and on the timeline they sit as two lanes. Video tracks are marked V, audio tracks A, and the audio ones show a waveform, so you can see at a glance where someone is talking and where it's silent.

Because the layers are separate, you can treat them separately: mute the camera sound and keep the picture, or the other way round. Tracks stack, and the rule is that the higher video track covers the one below it. Put a close-up on video track two, over a wide shot on track one, and the viewer sees the close-up. Audio works differently: audio tracks don't cover each other, they play at the same time. Put music under your voice and you'll hear both, which is exactly where volume starts to matter.

Area 4. The settings for the selected clip. Usually top left next to your files, or it appears when you double-click. Volume, cropping, and speed live here. You won't find this panel labelled on the full window above, because it only shows up once a clip is selected — in the micro-practice below, click any piece on the timeline first.

Two tools is all you need. The arrow selects and moves; the blade cuts the clip where the playhead is. In Premiere the blade sits on the panel left of the timeline, and Ctrl + K does the same thing. Filmora has a scissors icon and Ctrl + B, CapCut and Clipchamp both call it Split — S in Clipchamp, Ctrl + B in CapCut. Nothing else on that tool panel matters yet, including the Effects panel full of transitions and color.

Export in Premiere lives in its own mode: three tabs across the top of the window, Import, Edit, Export. In Filmora and CapCut it's an Export button in the top right corner, and Clipchamp puts its Export button in the same place.

The same map in a different program, Filmora. Different layout, same parts: media with your files, the preview, a row of tools, the timeline.

That's why moving from a free editor to a paid one is less frightening than it looks: the four areas and both tools are there too.

Micro-practice

Open the editor you picked, drag one of your own videos into it, and find the four areas: your files, the preview, the timeline, the settings for a selected piece. Then find what cuts. Don't cut anything yet.

6. How a video is built: hook, steps, payoff

Before you cut, you need to know what's meant to survive. A useful video has three parts.

The hook, the first ten to twenty seconds. The hook is the opening stretch where a viewer works out why they should keep watching. It's the most important decision in the edit. There are three ways to build one:

All three come with the same condition: the question or the problem in your hook has to get its answer in this video. Promise the reason the dough collapsed, show the reason. Otherwise it's clickbait, and module seven covered where that ends up.

The middle, keeping the promise step by step. Get on with it, no "oh, and by the way" detours. Every couple of minutes, a small result: the wheel is off, the chain is clean, the tension is set. That's what gives someone a reason to wait for the next step.

The end, the result and one next step. Show the outcome: brakes that work, the finished dish, the finished hat. Then give the viewer one action — watch the next video, or leave their own version in the comments. The work is done, the video is done. If you're using an end screen from module seven, leave ten quiet seconds after the result for it to sit on.

The hook is best said out loud while you're filming, because then it's simply the first piece on your timeline. If your recording starts with "okay, so, here we go," don't reshoot: record the line on your phone's voice recorder and lay it over the working footage on its own track. Section 8 walks through that.

Micro-practice

Write three lines for your next video: the hook in one sentence (pick a type from the table), three to five steps for the middle, the result and one next step. From then on, editing is just bringing the footage down to those three lines.

7. The first thirty seconds: YouTube counts them separately

Emma was sure her opening was fine: channel logo with music, "hi everyone, Emma here again," a bit about what a week it had been, a request to subscribe, and an explanation of why chicken today. The cooking started at fifty-two seconds. Not one of those five things was what the viewer clicked for.

YouTube measures the opening separately from the rest. In Studio, the "Key moments for audience retention" report has a row called Intro, and YouTube's own wording for it is that Intro tells you what percentage of your audience still watched your video after the first 30 seconds. Those key moments need a video at least sixty seconds long with at least a hundred views before they show up, and even then YouTube may not show every type of moment for every video. Until Intro appears, time your own opening with the stopwatch on your phone. We'll get to analytics properly in module eleven.

Micro-practice

Open your last video, or anyone else's in your niche, and time the second the work starts. Then take every piece before that second and ask: did the viewer click for this? Whatever fails is a candidate for the bin.

8. How to edit: the five operations

Most editors do all five, free ones included.

1. Trim the front and the back.Everything before "right, let's go" and after "that's it" goes in the bin. Drag the outer clip by its edge and it shortens; the tail trims the same way. For Paul in section 14, this one step took out more than a minute.

2. Cut the sag in the middle.By sag I mean any piece where nothing happens: a pause, a fluffed line you said again, hunting for a tool, explaining the obvious. The chain of moves is the same in every editor: cut at the start of the dead piece, cut at its end, select the middle with the arrow, delete it and close the gap so there's no black hole in your video. Deleting and closing in one move is Shift + Del in Filmora and Shift + Delete in Premiere; in CapCut the neighbors slide together on their own, and in Clipchamp you remove the leftover gap with the delete-gap button. Hard cuts are fine, viewers are used to them, and if you have a close-up to hand, drop it right on the join. A long mechanical pause — washing your hands, waiting for water to boil — can be sped up instead of cut, using the Speed setting in the clip panel. Mute the sped-up piece, or your voice turns into a chipmunk.

3. Level the audio.One consistent speaking volume across the whole video. More in section 11.

4. Lay in close-ups (also called b-roll).You're talking about cable tension, so show the cable. For your first video, write a list of five to ten details worth shooting separately. A laid-in piece brings its own audio: if you don't need it, mute it so it doesn't talk over you.

5. Lay in a voice you recorded separately, when the shoot was noisy.Module five covered the technique; here's how it goes together in the editor.

Don't add transitions, color grading, animated titles, or whoosh effects out of habit. They earn their place when they solve something, and none of them fix a video that's hard to follow.

Laying your own voice on its own track

This one saves anybody with kids in the house, a compressor in the workshop, or wind outside.

1. Shoot without talking.Your talking mouth has to stay out of frame: if your lips move and the voice was recorded separately, the viewer sees the mismatch and it's unpleasant to watch. Plan for it before you shoot — hands working, face out of shot.

2. Record the voice on its own.Phone voice recorder, quiet room, your own notes in front of you. Talk the way you'd tell a friend what's happening on screen.

3. Get the file into the editor.An import or add-files button; on a phone it's usually Audio, then your own files.

4. Drop it on a free audio track.Drag it onto the timeline below the video and it lands as its own lane. Now there are two sounds playing at once, which is why step 5 exists.

5. Quiet the camera audio.The video clip has a volume slider or a speaker icon; pull it almost to nothing, or mute it entirely if it's pure noise.

6. Slide the voice under the picture.Drag the track left and right until "and now we tension the cable" lands on the moment you're tensioning the cable. You don't need lip-sync accuracy, but the words have to match what's on screen.

Micro-practice

Go back to the video from section 5: cut it in two places, delete the middle, close the gap. Then put it all back — Ctrl + Z undoes edits too, and on a phone there's an undo arrow above the timeline.

9. How often to cut: pacing in your niche

The piece between two cuts is called a shot. There's no universal length for one: in a repair video the viewer needs time to copy you with their hands, while in a talking video cuts mostly take out pauses and repeats. So the default is simple: in talking video, cut wherever there's a pause or a repeat; in a how-to, hold the shot for as long as the action lasts. Cutting more often doesn't make a video more interesting by itself.

Your neighbors will tell you more. Open two or three videos in your topic with a similar job to yours and watch the first thirty seconds of each — not with a frame counter, but with one question: why is each cut there? Almost always it either shows a new step or hides a pause. That's how Paul went through three home bike repair channels: the picture changed every five to eight seconds for them, and held for fifteen in his own first video. He didn't start cutting faster to hit a number; he went looking for what was sagging inside those long shots.

What to do with the answer. When you find a long shot where nothing happens, either cut the sag out, speed it up (operation 2), or cover it with a close-up (operation 4). If your video mixes talking with hands-on work, apply the rule to each stretch separately: cut the pauses in the talking, and let the action play out to the end, even if your neighbors' shots are shorter.

10. Working order, and a time limit

Editing drags because of the chaos around it: the footage gets rewatched ten times, the opening is rebuilt three times, and an hour disappears into choosing music.

1. Structure first, polish later.The first pass down the timeline is cuts only, start to finish.

2. One pass, one job.Close-ups on the second pass, sound and music on the third. Don't hop between them.

3. Watch the rough cut sped up if your editor allows it.Repetition and long pauses are much easier to spot. On a phone, ordinary scrubbing does the job.

4. If you're unsure about a piece, take it out for now.Watch the join without it, and only put it back if the meaning broke.

5. Give yourself a time limit and write it down.Two evenings of an hour, three evenings, one Saturday — your call. Without a limit, editing expands to fill exactly as much free time as you have.

6. Save.Ctrl + S every half hour on a computer; Filmora and Premiere both autosave, but check that it's switched on. Clipchamp and the phone editors save the project themselves, where all you have to do is not delete it from the list and not clear your browser data.

Shooting helps too: the cleaner the footage, the less editing there is. If you stumble on a line, don't restart from the middle — hold a beat and say the whole line again, and the spare take comes out in one move in the edit.

If you find a mistake after publishing, some fixes are possible in Studio's built-in editor. Module six covered its limits.

11. Levelling the audio: voice and music

Voice first. Takes shot at different times often land at different volumes: you stepped closer, you turned away, you filmed the second half the next day. Listen to the whole video without watching the picture and mark every spot where you have to turn it up to make out the words. Select that clip and raise its volume with the same slider you pulled down in section 8. The target: at medium phone volume, speech is equally audible all the way through. Do the final check in headphones, which don't smooth over problems the way laptop speakers do.

Then music. The single most common thing that ruins home video is music drowning the voice. YouTube does stabilise loudness on playback, but it won't fix a balance you got wrong. Same check: at medium volume, the words come through without effort. If you have to lean in, the music goes down.

Take music from the Audio Library in Studio: those tracks are free and cleared for monetized videos. Some of them require you to credit the artist in your description, and YouTube marks which ones right there in the library. Somebody else's track can earn your video a copyright claim, and in the worst case a strike on the channel; module six covered music rights properly.

12. Captions: create them in your editor

While you're in the audio, make captions. A share of your viewers watch with no sound at all — on a bus, at work, next to a sleeping child. For them, captions do the voice's job.

The easiest place to build them is the editor you're already in. Auto-captions transcribe your speech and lay the lines out against timecodes, leaving you to fix the words it got wrong. Clipchamp's Autocaptions are free and the transcript panel will download the result as an .srt file; CapCut has Auto captions under the Text tab, and Filmora splits the job into Speech to Text and Dynamic Captions. Whether you can export a plain .srt depends on your version and on whether you're editing on a computer or a phone — check for that button in your own copy. If it is not there, make the captions in YouTube Studio after uploading: it transcribes the speech and you fix the words. The file comes out the same, and everything below about translation still works. A five-minute video takes about ten minutes including corrections.

From there, two paths.

An .srt file for YouTube. Export the captions from your editor and add the file to the video in Studio. The viewer turns them on in the player, and the text stays a separate layer you can fix after publishing without rebuilding the video.

Captions turned into on-screen text. The key lines — a tool size, an oven temperature, a step number — can become large text right in the frame using the same tool, since the words already sit on their timecodes. Paul's torque caption in section 14 was made exactly that way, in about a minute.

There's a third reason to do this from your first video: captions are a ready-made text for translation. Module seven covered how Creator Tools adds translations to a video in a single pass. Captions work the same way — the service takes the text and hands it back in fifty-plus languages, and your video about dough or brakes becomes available to viewers who don't speak your language. Only the .srt travels, though: text burned into the frame stays in the language you typed it in. So if translations are in your plans, keep the captions as a file.

13. Exporting for YouTube: format, resolution, bitrate

When the edit is done you press Export and the program renders everything into one finished file.

Viewers never see your original file. YouTube rebuilds it into several qualities at once, so the video plays on a slow connection on the subway and on a television. It is the source for every version viewers actually watch.

Why the video looks mushy right after uploading. Your export isn't the problem. YouTube processes resolutions in order: the low ones become available first, and HD and 4K are still being worked out in the background, which takes anywhere from a few minutes to a few hours. Check it with the gear icon in the player, under Quality. If 1080p isn't in the list yet, processing isn't finished. That's where module six's order comes from: upload as unlisted, wait for the quality you want, and only then let viewers in.

What bitrate to set. Bitrate is how much room each second of video gets. YouTube is going to recompress your upload with its own numbers anyway, so your bitrate does exactly one job: keep compression artifacts out of the picture before it ever reaches YouTube. The numbers differ by resolution, and that matters — 4K exported at 1080p's bitrate throws away picture for nothing. YouTube publishes these on its recommended upload encoding settings page:

You don't have to type any of that in: editors ship a ready-made YouTube preset with the bitrate already filled in. If yours suggests a bit more — Premiere in the sketch below sits at sixteen for 1080p — leave it alone, because recompression won't reward the extra, the file just gets heavier and slower to upload. Pushing it manually to a hundred megabits doesn't help either. The table is for ordinary video without HDR, which is what you have if you switched HDR off back in module five.

The export window usually shows an estimated file size: nine minutes of 1080p at eight megabits comes to roughly half a gigabyte. Higher bitrate, proportionally bigger file — at sixteen megabits, in the sketch below, ten minutes run past a gigabyte. If your editor never asks about bitrate, pick the high quality preset and look at that size instead: several times smaller than expected means you're on a low setting. And note which folder the finished file lands in.

What resolution to set. YouTube takes and processes everything up to 8K, so no phone is going to hit the ceiling. Keep to one rule: export at the resolution you shot at. Shot 1080p, set 1080p — pushing it up to 4K invents no detail. Shot 4K and your computer copes, export 4K.

What to set in the export window: MP4 (Premiere names it after the codec, H.264), the resolution you shot at, the original frame rate, and the bitrate from the table above. In Premiere you can pick a ready-made YouTube preset for your resolution — a set of settings with all of this already filled in — and the preset names shift a little between versions. Export time depends on your computer, the length, the effects, and the resolution.

Micro-practice

Open your export window and find the four settings from the box above: format, resolution, frame rate, bitrate. Don't export anything yet; just learn where they live.

14. A worked example: Paul's video from footage to finished

Paul, the one who talked Emma into filming in the first place, runs a channel about repairing bikes at home. Here's his fourth video, "replacing a rear derailleur": what the footage held, and what it became.

The opening held exactly what we went through in section 7 with Emma: an intro animation, a greeting, last week's news, a request to subscribe, and some musing about derailleurs in general. The bike didn't appear until 1:10.

What it became. The video now opens on a close-up of the bent derailleur and the line "look what happened to it — we're replacing this, about fifteen minutes." That used to be 1:10 of the footage, and everything before it is gone.

Cut from the middle. Hunting for the right hex key, forty seconds. Three rounds of "uhh, so" with the sentence restarted, twelve seconds. The pause while he washes his hands, a minute forty, of which four sped-up and muted seconds survive. A digression about cable brands that interested only him, two minutes.

Added. Close-ups filmed right after the main take: the bolt under the wrench, the chain on the sprockets, the cable tension, the derailleur cage, the wheel spinning free. He shot five and used three — he'd missed focus on two. Those three cover the places where Paul is talking and there's nothing to look at.

The result. Fifteen minutes of footage came down to a bit over nine, and what came out was mostly the opening and the sag. He did add one piece of on-screen text, for the moment he says the torque figure, because it didn't survive on audio alone. No transitions, no color grading. A video like this takes me two evenings of an hour; your own limit went into section 10.

15. Beginner editing mistakes

• A logo animation at the front. It eats the exact seconds in which the viewer decides whether to stay. Let the logo live on the thumbnail and in the corner of the frame.

• Effects instead of structure. Transitions and titles won't rescue a video that's hard to follow. Do the whole timeline with cuts alone first.

• Music louder than the voice. Playback loudness handling won't fix it; check the balance yourself, as in section 11.

• Editing for weeks. The video slips, the channel stalls. The time limit from section 10 gets written down before you start, not after.

16. Your task

Write your answers straight into the fields below. Budget an hour to an hour and a half for the whole list, and anything from twenty minutes to a full evening for the assembled minute — the first time round, most of the time goes into finding buttons, and it gets faster. Splitting it across two evenings is fine. Answers are saved only in this browser: clearing your browser data wipes them. Copy the result into your notes or a document once you're done.

1. Three lines of structure for your next video

The hook in one sentence (a type from the table in section 6), three to five steps for the middle, the result and one next step.

2. One observation from your niche

Watch the opening of any neighbor's video and note why the cuts are there and, roughly, how often the picture changes.

3. The second the work starts, and the second it should have started

Use your last video, or if you haven't published yet, anyone else's in your niche.

4. The editor you picked, and confirmation that you found the four areas and the button that cuts

Where your files live, the preview, the timeline, the clip settings, and what cuts.

5. Five to ten close-ups you'll shoot for your next video

Shoot them right after the main take, while everything's still set up.

6. Your own time limit for editing one video, in hours

Without a limit, editing expands to fill exactly as much free time as you have.

7. The assembled minute

Take any footage you already have, trim the ends, cut three sags, export the file as MP4, and watch it all the way through. It's sixty seconds for you, not for publishing — but you go the whole way from import to finished file once. Note how long it took and where you got stuck.

17. Check before the next module

• your next video has three lines of structure, with the hook built on one of the three types;

• you've been through the opening of one neighbor's video and can say why its cuts are there;

• an editor is chosen, and the four areas and the cutting button are found in it;

• the second the work starts in your last video is timed;

• the list of close-ups for the next video is written;

• the assembled minute is exported as MP4 and watched through;

• the footage hasn't been moved and the project hasn't been deleted;

• quiz passed: at least 4 of 5 correct.

Once you've actually edited your next video, six more items join the list:

• the voice is level, the music sits under it, and the music came from the Audio Library;

• captions are made in the editor and added to the video, either as an .srt in Studio or as text in the frame;

• the edit fit inside the limit you set;

• the four export settings are checked: format, resolution, frame rate, and the bitrate from the table in section 13;

• the finished file is exported: MP4, the resolution you shot at, frame rate untouched (shot 60 fps? remember Clipchamp gives you 30, so build that one in CapCut);

• the finished file is opened and watched right through: sound everywhere, nothing extra at the end, no watermark. Lost sound on a piece means you pulled that volume to zero somewhere you shouldn't have. A watermark means there's a paid asset in the project.

18. In short

• Editing starts with throwing things out: clear everything unnecessary first, then ask what's missing.

• Every editor is built the same way: four areas (files, preview, timeline with tracks, settings for the selected piece) and two tools (select and cut).

• Video is a picture and a sound that sit separately. The upper video track covers the lower one; audio tracks play together.

• YouTube counts the first thirty seconds separately, as the Intro row in the retention report. Whatever the thumbnail promised has to land inside them.

• Three ways to build a hook: result up front, a question you promise to answer, the problem close up.

• There's no ready-made number of cuts. Default: cut pauses in talking, hold the shot while the action lasts in a how-to.

• Five operations make up all of a beginner's editing: trim the ends, cut the sag, level the audio, lay in close-ups, and lay in a separate voice when the shoot was noisy.

• Captions take about ten minutes in the editor, and Creator Tools then translates them into fifty-plus languages.

• Your file is the source YouTube builds the versions viewers watch from. At first only the low quality is there, while the higher resolutions process.

• Export: MP4, the resolution you shot at, frame rate untouched, bitrate by resolution (1080p: 8 Mbps at 30 fps, 12 at 60; 4K: 35–45 and 53–68), or a ready-made YouTube preset.